Sambodhi 1998 Vol 21

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 73

68
SATYAVRAT
SAMBODHI
Punyakusala is equally, at home in depicting the Vipralambha aspect of Śrrgāra. The sketch of the warrior about to leave for the battle-field, emerges as the most intense expression of Vipralambha. As the time of his departure drew closer, his spouse is aghast at the impending separation. On seeing her overwhelmed with feelings, the doughty soldier also lost his equipoise. Tears welled up in his eyes and he departed to the battle-field with his face cast down (nyagānanah)20. There is infinite suggestion in the phrase nyagānanah. Like most of the Jaina poems, the BBM culminates into quietism. The haughty Bahubali and his avaricious brother Bharata arrive at the same destination, though they choose to follow different paths. On knowing that Bāhubali has attained the bliss of Kaivalya the moment he shed his proverbial hauteur, Bharata is also overcome by asceticism. In the alluvial soil of his detached state of mind springs up the heavenly tree of śāntarasa, which, in the poet's own words, is indeed Sarasa : Bhaja śāntarasam tarasā sarasam (BBM, XVII. 74)21. DEPICTION OF NATURE The BBM purports to be an honest expression of the author's love for nature which invariably provides apt setting to Sanskrit poetry. The poem is indeed dotted with lovely sketches of scenic beauties. Punyakusala is so enamoured of the natural phenomena that he may afford to ignore the theme but is ever intent on drawing the varied facets of nature in different ways and styles. Many a contour of nature is discernible in the BBM. Though the Prakrti-citrana in the poem is, in keeping with the contemporary trend, based for the most on vakrokti, Punyakušala's inborn love for nature and his poetic equipment have combined to lead him to draw winsome sketches of its ālambana form, though such instances are not many. He is, however, unquestionably charmed by its ornate form. While so depicting nature Punyakušala has fondly resorted to Yamaka, his Yamaka is happily shorn of complexity and he means to draw thereby beauties of nature in its pure form. Under the diaphanous garb of Yamaka, the natural beauties of Sarat are readily discernible. Some of the sketches of the scenic beauties in the BBM. are based on appropriate aprastutas. The author has pressed into service Utpreksā and Upamā with some frequency which combine to invest his descriptions with charm. The description of the night in canto eight merits attention because of the extremely winsome and apt aprastutas employed therein. "The stars twinkling in the sky appear to be so many tiny lamps arranged on the terrace made of emeralds.